#1930sfashion
Jean-Charles Worth | 1931⠀
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The House of Worth saw business decline in the early years of the twentieth century, as it lost favor among a younger clientele. The house began to advertise for the first time in the 1920s, calling attention not only to its distinguished heritage but also to its ability to create modern, youthful designs. This dress demonstrates designer Jean-Charles Worth’s talent for embracing a modern aesthetic and silhouette while honoring the tradition of refined workmanship on which the house had built its reputation. Composed of silk tulle, the gown is densely embroidered with silver glass bugle beads that extend into deep layers of fringe and are worked into intricate braids at the shoulders. That the dress has survived is remarkable, given the fragility of the materials used in its composition. (via The Metropolitan Museum of Art)⠀
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#fashion #houseofworth #dress #couture #vintage #1930s #30s #1930sfashion
#30sfashion #eveningdress #gown #style #design #glamour #jeancharlesworth #beauty #mode #moda #beading
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Norman Hartnell | 1933⠀ ———⠀ This wedding dress was made for Margaret Whigham, who would later become the scandalous Duchess of Argyll, for her first marriage to Charles Sweeny. The dress took a team of 30 seamstresses six weeks to make, and the bride thought it shockingly expensive at £52. British Pathe filmed society beauty Margaret Whigham and her as they emerged from London’s Brompton Oratory. The film shows crowds of women jostling with photographers to catch a glimpse of the bride and her extraordinary gown with its 9 foot train. ⠀ ⠀ (@vamuseum museum no. V&A: T.836-1974)⠀ ———⠀ #fashion #weddingdress #wedding #bridal #couture #costume #dress #art #history #mode #moda #design #style #glamour #vintage #duchessofargyll #margaretduchessofargyll #normanhartnell #1930s #1930sfashion #30sfashion https://www.instagram.com/p/B7WF4migqYa/?igshid=1c0nx38ecfhn0
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Elsa Schiaparelli with Salvador Dalí | ‘The Skeleton Dress’ | c. 1938⠀
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To many contemporaries the sinister black skeleton evening dress with its padded representations of human bones was an outrage - an offence against good taste. Although otherwise in elegant harmony with the prevailing lines of late 1930s evening wear, the skeleton dress is so constricted that it became a second skin and the imitation anatomy sat defiantly proud of the fine matt silk surface. Schiaparelli exaggerated the usually delicate trapunto quilting technique to make enormous ‘bones’ - the design was stitched in outline through two layers of fabric, then cotton wadding inserted through the back to bring the design into relief on the front. The shoulder seams and right side are closed by bold plastic zips. (Via @vamuseum Museum No. T.394&A-1974)⠀
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#13daysofhalloween #elsaschiaparelli #schiaparelli #salvadordali #dali #dalí #skeleton #halloween #dress #fashion #1930sfashion #30sfashion #couture #style #design #mode #moda # #museum
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“Pajamas for all occasions, says Hollywood. Here’s Mae Madison, new Warner Brothers player, displaying elaborate pink velvet pajamas with a black lace embroidered bertha collar. The pajama trousers are so full they give the effect of a skirt. The cigarette lends an air of nonchalance.“
Screenland, November 1931
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“You’re not a man - you’re not even a good sample.”
~Barbara Stanwyck in Ten Cents A Dance(1931)
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